Klarinet Archive - Posting 000603.txt from 1996/11

From: Ward Cheney <cheney@-----.edu>
Subj: Schumann: ambiguous notation
Date: Wed, 27 Nov 1996 22:08:10 -0500

>
> Lorne G. Buick has written as follows:
> >
> > Hi all. I am currently rehearsing Schumann's Marchenerzahlungen (Fairy
> > Tales) (for clarinet, viola and piano) for a concert this weekend and we
> > have a question about the trills and nachschlags (turns at the end of
> > trills) in the first movement. Some of the trills are written with
> > nachschlag, and with a sharp above the trill sign (presumably indicating
> > that the upper note of the trill is to be raised, making a whole-tone trill
> > instead of a semi-tone). Some however have no nachschlag, but a sharp
> > _after_ the trill sign. If the sharp is meant to apply to the trill, this
> > results in some cases in an augmented second, which sounds very odd. Does
> > this mean the sharp is meant to apply to the (unwritten) nachschlag? If so,
> > why didn't he just write the nachschlag? Is there some other possibility
> > I'm overlooking?
> >
> > Perplexed in St. John's
> >
> > LGB Lorne G Buick St. John's
> > lgbuick@-----.net Newfoundland
> --------------------------------------------------------------------------
> Dear Lorne,
>
> I have 2 different editions of March....., one from International
> and the other from Cundy-Bettoney. In the latter, I see:
>
> meas. 8 trill e to f, with grace notes d-sharp, e-natural.
>
> meas. 30 trill e to f-sharp, grace notes d-sharp e-natural
>
> meas. 46 trill b to c, grace notes a-sharp b-natural
>
> These sound right to me, and in my other copy (IMC) I long ago
> penciled out what didn't conform to my Cundy-Bettoney edition.
>
> That's not an authoritative answer. But notice that the pattern is
> the same in all three trills. That is evidence in support of
> the C-B edition.
>
> I am posting this to the net, as it may be of general interest.
>
> Ward Cheney (cheney@-----.edu)
>

   
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